We start off 2024 with an old show that has surprising relevance today because of a very recent -- and somewhat confounding -- revival. "Plaza Suite" first premiered back in Neil Simon's imperial period when his shows were selling out before people even knew what they were about. Three vignettes that share a setting -- the same suite at the Plaza Hotel in NYC -- and a jaded view of American coupledom. It's a lot of dark stuff...when it's not downright uncomfortable.

Rich Griset once again joins the podcast to try to figure out what about this show might compel Matthew Broderick and Sara Jessica Parker to commit to it. It seems one motivation was clearly financial: the production ended up making nearly $30 million on Broadway. Is it just star power that is bringing people in or something more about this very (VERY) dated material? Listen to get our thoughts.

Also, please check out the recently updated website, ChasingPhantom.net, to review the movement of your favorite shows on the big list of Broadway's longest running productions. And see you back here in two weeks!

What a perfect way to end the year in quintessential Broadway fashion! For this episode I'm talking about "Fosse," the 1999 musical dance revue that featured what may be considered the "greatest hits" of choreographer Bob Fosse's career. The show was a smash hit at the turn of the century and was one of several dance-centric shows (e.g., Contact) that were drawing audiences at the time.

And I couldn't be more excited to be talking about Fosse with someone who has danced Fosse routines and studied Fosse techniques at Broadway Dance Center, the dancer / choreographer Kayla Xavier. She edifies me on a number of technical aspects of Fosse's style as we dig into the depiction of his singular talent as featured in this show.

As mentioned, a full broadcast version of "Fosse" is available on YouTube. After you listen to this conversation, I'd recommend checking it out -- it's worth a rewatch.

And of course, please check out previous episodes of the podcast and other write-ups related to Broadway's longest running shows at my website, Chasing Phantom. 

For the first of several Neil Simon creations that this series will consider, we start off with one that may be a "meh" to listen to but is still fun to talk about if only for the speculation about what could have possibly motivated to keep this show running for 3 years.

"They're Playing Our Song" is a fictionalization of the relationship between composer Marvin Hamlisch and the lyricist Carole Bayer Sager. Apologies to those who may love this show but it just doesn't hold up to modern scrutiny. And luckily I've invited a first-class scrutinizer to talk to about the show: Rich Griset, freelance writer and theater critic extraordinaire.

With this episode, Chasing Phantom inaugurates an intermittent series on shows that haven't technically made it over the 1,000 performance mark but are on the fast track to getting there.

SIX was the answer to Broadway fans' pent up demand when the theater world emerged from the pandemic and it's still packing theaters in NYC as well as in houses across the country thanks to its first national tour. While only at 850+ performances at this recording, there's no reason to think that it'll cross the 1,000 performance threshold early next year and start shooting up the longest running shows list.

Given that SIX is a fan-driven show / phenomenon,  we brought on a Chasing Phantom fan on to talk about the show, Kathy Kreutzer. Not only is she a long-time fan of theater, she has many insightful and articulate things to say about it. Is SIX theater or a glorified concert? How close does the show get to the historical facts, and does it really matter. We dig into those questions and more, interspersed as always with some choice sonic nuggets from the production. Enjoy!

Find out more about "SIX" at ChasingPhantom.net.

Look, everyone knows this show was bonkers and, even after running more than 1,000 performances, was possibly the biggest money loser in Broadway's history. It'd be easy to just rag on "Spider-Man: Turn Off The Dark" -- and it certainly deserves to be made fun of -- but I wanted to talk a little bit more about why it failed and also, what little sparks of goodness it might have sparked in its wake.

For that kind of conversation, I couldn't bring in an expert -- few people I know saw this show. So I take on the task myself since I did see it and still have vivid memories of the experience. This will be a different kind of "Chasing Phantom" episode but one I think (hope) you'll enjoy.

Read more about "Spider-Man: Turn Off The Dark" and Broadway's other longest running shows at ChasingPhantom.net.

Marrying slices of Shakespeare with perhaps Cole Porter's finest score, "Kiss Me Kate" is one of the ultimate old Broadway hits. Fashioned as a response to "Oklahoma" and built with sturdy story beats that have allowed it to be revived as recently as 3 years ago, "Kate" has lore and legend to explicate for days.

So OF COURSE we had to bring back in Phil Crosby, Executive Director of Richmond Triangle Players, for another chat. Not only does Phil have plenty to say about "Kate," he adds related background on why the Barter Theatre is called that and what motivated certain casting choices, while also confirming a rumor related to Broadway star Alfred Drake based on his own experience working with him.

Read more about "Kiss Me Kate" and check out related videos at ChasingPhantom.net.

"It transformed my life." That's the kind of statement you want from someone talking about a cultural experience. "Don't Bother Me, I Can't Cope" broke all sorts of barriers on Broadway in 1972 but it is not well known today. Even so, its impact is felt in the people it influenced like my guest, Dr. Tawnya Pettiford-Wates, or as she is affectionately known as, Dr. T.

The celebrated playwright, actor, director, and activist saw "Don't Bother Me" when she was in high school and it was a foundational experience, setting her on the path she's followed in her career. Even if you don't know this show, you'll want to listen to Dr. T talk about how she came to it and what she took away from it.

Find out more about "Don't Bother Me, I Can't Cope" at ChasingPhantom.net and check out the other podcasts in the TimberTodd Pods family at timbertoddpods.com.

For better or worse, the song "Freedom" is one of the most persistent earworms around but what do we think about the show that spawned such a tenacious tune? "Shenandoah" used to be a regional favorite but hardly ever gets produced these days, despite family-friendly themes, an even balance of comedy and tragedy, and a generally tuneful score.

Tom Width, esteemed producing artistic director at Swift Creek Mill Theatre in Colonial Heights has acted in the show and directed it so knows both its history and its appeal. Our conversation not only parses "Shenandoah" but provides insight into the behind-the-scenes  dynamics in producing such a show and why it might not be the first choice for revival these days.

Find out more about "Shenandoah" at ChasingPhantom.net and check out the other podcasts in the TimberTodd Pods family at timbertoddpods.com.

Watch out -- it's the 50s! The romantic dynamics, not to mention the workplace politics and the capitalistic shenanigans, might seem like artifacts from ancient history in the plucky musical, "The Pajama Game." The show jump-started careers left and right, from folks like Bob Fosse and Shirley MacLaine, to more theater insider famous people like Hal Prince. It also enchanted many a theater-goer with its central love story between too hard-chargers, Babe and Sid, whose professional conflicts threaten their budding relationship.

Luckily, Phil Crosby is back to help my parse it all. Plus he relates truly fascinating anecdotes from his first-hand experience working with John Raitt (Bonnie's father) and Mister George Abbott.

Hm, come to think of it, the capitalistic shenanigans seem pretty darn modern so that, in addition to a damn fine score, makes "The Pajama Game" worthy of a look and definitely makes this conversation worth a listen.

Find out more about "The Pajama Game" at ChasingPhantom.net and check out the other podcasts in the TimberTodd Pods family at timbertoddpods.com.

It's a show that you wish was just about the songs -- "There's No Business Like Show Business," "I've Got the Sun in the Morning," etc. -- but, for better or worse, it's set in a time (late 19th century) and place (the Wild West, still somewhat populated by Native Americans), that requires contextualization. The 1999 revival tried and also brought in blockbuster star, Bernadette Peters, to add star power. Ironically, Reba McEntire ended up being the breakout personality when she took over the role.

I talk through all of this with the delightful Robyn O'Neill who starred in a 2005 production of the show that was modeled in part after the 1999 revival. Learn about Robyn's past as a stalker, how her production picked and chose which aspects of the show to use, and about a special someone she started dating during the production's run.

Find out more about "Annie Get Your Gun (1999 revival)" at ChasingPhantom.net and check out the other podcasts in the TimberTodd Pods family at timbertoddpods.com.